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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Introducing the Panavision DXL

saw the cam and footage they had today at Cinegear...

it looked very nice - as does all RED footage, especially 8K... the footage they showed had a (light) grade on it, naturally impossible to make comparisons to standard Dragon cams...

LI color science only makes sense to be used on the DXL due to the custom OLPF...

main point of the cam is obviously standardized/optimized ergonomics and a speedier workflow in post as the footage will look already how most of the DPs want it to look like...


now... (cough, cough).... I think the ball is in Graeme's court to release DC3... I'm sure u wanna show those LI folks who's the master of color science here... ;-)))))
 
So I saw the camera at cinegear as well and I have to say that it looks fucking gorgeous!!!! For reference, the size and shape was reminiscent of the Vatican LT. Also, the built in lens motors are scary good. One of the Pana reps was walking around with a Preston hand unit showing it off.

One very interesting piece of info I found out, that I haven't seen anywhere else, came straight from Michael Cioni. He was doing an on camera interview for someone and he mentioned that all the modules (the front power connectors, the audio boards, the I/O in the back, etc) are modular! Meaning that each DP can still customize their camera's to their production's needs.
 
Peter Lyons Collister said:
Do we know as a fact that PV has a custom OLPF?
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michael told me straight up that it did, and he said there is a whole new color science that comes from the processing. i actually asked him twice to make him repeat it.
the footage was very very good, though i actually liked the spherical image better then anamorphic, they basically did a commercial for keanu's motorcycle company.
 
Daniel Stilling said:
I beg to differ. I believe that it's as much a Weapon as the Xenomorph. If you look on the front plate, on the media bay, the pogo connectors, on the 2 menu displays. It's all RED. If it has RED's UI, it has to have RED processors, and as far as I know, no other company out there has hardware that can deal with as much data as the RED's ASIC's. It's a Weapon with some extra goodies in the back and a slightly different hood. But it's the same engine.
And I am willing to put money down that those cameras are built in a certain factory in Irvine...
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though michael also made a big deal stating it over and over again that only the sensor was red, that they bought the sensor from red and the whole way it processes was light iron and all the design was panavision…but of course i notice the similarities, sepcifically the pogo connectors and they told me it would take red mini mags.
 
I think it was somewhere in a LGG thread where one of the LI guys explained that they are still going through the RED SDK... just with LI color science presets for the DXL cams... I think the LI color science just maps it into a ballpark area that is an easier starting point for post...

the custom OLPF is interesting and would love to know what's in there... especially with RED opening up the OLPF to third parties, maybe somebody can bootleg copy the PV OLPF and we'll slap it on our Dragons.... ;-)))))))
 
Mike Nagel said:
I think it was somewhere in a LGG thread where one of the LI guys explained that they are still going through the RED SDK... just with LI color science presets for the DXL cams... I think the LI color science just maps it into a ballpark area that is an easier starting point for post...

the custom OLPF is interesting and would love to know what's in there... especially with RED opening up the OLPF to third parties, maybe somebody can bootleg copy the PV OLPF and we'll slap it on our Dragons.... ;-)))))))
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the only thing is that their olpf apparently is geared directly to their new processing and color science and might not work the same way on a different camera.
 
Matt Ryan said:
Panavision is more traditional and classy looking. The Xenomorph went for the badass factor. To each his own but the Panny version is sexy..
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I have to say, the Panavision DXL is a great-looking camera, and the pictures I saw this afternoon were beautiful. I bet the camera will be very successful when it arrives next year.
 
jordan levy said:
the only thing is that their olpf apparently is geared directly to their new processing and color science and might not work the same way on a different camera.
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the processing is done via the RED SDK. LI color science u could actually disregard as it uses the sensor data and just maps it into a "better starting point" - u can get there urself using grading and some time as we've done so far since R1...

the custom OLPF is different hardware, so that changes the default optical path and therefore the light that is captured... that u can not so easy re-create with some extra time, if at all...


so somebody needs to man up, break into Cinegear tonight, rip that OLPF out and make a secret donation to Kippertie...

I will be standing by to place my order. :cool:
 
jordan levy said:
michael told me straight up that it did, and he said there is a whole new color science that comes from the processing. i actually asked him twice to make him repeat it.
the footage was very very good, though i actually liked the spherical image better then anamorphic, they basically did a commercial for keanu's motorcycle company.
Click to expand...

From what I understood the Panavision OLPF isn't done yet, so they already have a color science that seems to work with current OLPFs, probably either the standard or skin tone. When they have their own OLPF I think they're gonna tweak the color science to that.
 
That's also what I understood is that they are developing their own OLPF. So right now, and all the test shoots are RED through and through with some color correction applied by LI. Weather it's on camera or in post its irrelevant. The raw files, as it stands right now, should be identical to the 8K Weapon.
And I bet that when the PV OLPF comes out with the LI color science, the difference is going to be very subtle. But all the hoopla around it will be enough to win over old RED haters as this will be"revolutionary different" from the RED look (according to them) even though a "stock" Weapon will be capable of producing images just as good as the DXL.
Panavision is walking a thin line here on where they praise the RED accomplishments on one side, but distances themselves as well on the other. I hope that the political side doesn't win on this and they can call RED a partner instead of a supplier.
 
Daniel Stilling said:
Weather it's on camera or in post its irrelevant. The raw files, as it stands right now, should be identical to the 8K Weapon.
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I don't really understand that part. Log and Dragoncolor are not already some kind of luts? I have the impression that if I change my red color hue for example, and even make my reds darker to mimic the Alexa, it can become shitty quite fast. Is it not better to tweak the colors and curves at an earlier stage, from the raw? Isn't making a new redlogfilm and dragoncolor with custom film hues a better and far more efficient solution?
 
As it looks as though I'll be keeping my CF WEAPON and reserved 8k sensor upgrade, I am looking forward to PV promoting 8k production. This can only help when we get 8k in our hands as the public will remember 8k more than the PV platform when shooting all those tentpole movies... and that can be a priceless connection.

Only problem is that PV may suck up a lot of 8k sensors before they start trickling out to the rest of the 8k queue. We need more sensor fabrication!
 
Ugo Del said:
I don't really understand that part. Log and Dragoncolor are not already some kind of luts? I have the impression that if I change my red color hue for example, and even make my reds darker to mimic the Alexa, it can become shitty quite fast. Is it not better to tweak the colors and curves at an earlier stage, from the raw? Isn't making a new redlogfilm and dragoncolor with custom film hues a better and far more efficient solution?
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Raw is raw. Whether you apply the luts in camera or in post, it makes no difference on the genesis of the raw material. All luts are metadata and don't change anything on the data that's captured by the sensor. You can put a curve in the picture on camera or in post. The result is the same. The only way to change how the sensor sees things is anything you put in from of it and not behind. Lenses, filters and OLPF's changes the path the light goes through before it becomes data.
 
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